Tag Archives: Jay Faisca

ONE SMALL STEP

β˜…β˜…

Charing Cross Theatre

ONE SMALL STEP at the Charing Cross Theatre

β˜…β˜…

“Milla Clarke’s slowly revolving set reflects a narrative going round in circles”

Set in the not-too-distant future, Takuya Kato’s β€œOne Small Step” depicts a society where colonising the moon has become a practical reality. The scenario throws up many questions, some of which are touched upon in this short two-hander from Japan, but the focus of the story is very much rooted in present day, down-to-earth problems within the confines of a conventional marriage. The premise is a fascinating one, but ultimately it doesn’t really go anywhere. It’s all very well setting your sights on the moon, but you need to figure out the launchpad first.

Takashi (Mark Takeshi Ota) and Narumi (Susan Momoko Hingley) are a married couple working for a major company that is establishing a city on the moon. They share, with a touching yet naΓ―ve idealism, a wide-eyed enthusiasm at being part of humanity’s β€˜fresh start’. Perhaps it’s because their own relationship needs a fresh start, as they spend the next hour bickering inconclusively. The mundane swiftly progresses to the central dilemma of the narrative. Narumi is pregnant, which puts her involvement in the forthcoming moon-shot in jeopardy. Cue the tried-and-tested, quasi-intellectual debates about abortion, the rights of women (and men), the right to life, corporate attitudes to maternity, careerism.

Narumi cannot seem to make up her mind about anything as Hingley plays tug-of-war with her character. We never really know whether she intends to keep her baby or not, but unfortunately, we cease to care. Little wonder then that Ota’s Takashi ends up in a whirl of schoolyard frustration. The discussions they repeat are pretty puerile given the subject matter. As the couple orbit around each other we expect them to gradually get closer, but there is little chemistry between the two and the inward spiralling of the script is claustrophobic. Milla Clarke’s slowly revolving set reflects a narrative going round in circles. At one point a robotic floor cleaner is seen surreptitiously scuttling around; presumably to sweep up dialogue that has fallen flat.

Somewhere in there is a gem of a story. It is the stuff of dreams, quite literally. Some may argue that the dream is closer than we think, but whatever way you look at it the textural landscape is a goldmine. β€œOne Small Step” even has a cow on the moon (I wonder if it jumped over it first), which bizarrely mirrors the elephant in the room for the play’s protagonists. There are moments of humour in Kato’s script, which the actors do successfully seize upon. We want more of this – the lightness of touch lends more weight to the message, and we pay more attention.

A live camera feed projects the actors in close-up onto overhead screens. There is perhaps a reason for this beyond the bandwagon that Kato (who also directs) has jumped on. But, like the other choices made, it is lost in translation. We should be getting lost in the story but, as much as the pair’s fine performance draws us in, we are kept outside of their inner circle. Which is a shame as the issues are universal.

The moon belongs to nobody (despite the American flag up there). For now, at least, it belongs to anybody. The dreams, stories, ambitions and desires it has inspired belong to everybody. β€œOne Small Step” has the potential to latch onto those visions, embracing the human problems inherent in mankind’s grand objectives. Yet it remains a small step, and needs more thrust to achieve lift off.

 


ONE SMALL STEP at the Charing Cross Theatre

Reviewed on 1st October 2024

by Jonathan Evans

Photography by Mark Senior

 

 

 

 

 

 

Previously reviewed at this venue:

MARIE CURIE | β˜…β˜…β˜… | June 2024
BRONCO BILLY – THE MUSICAL | β˜…β˜…β˜… | January 2024
SLEEPING BEAUTY TAKES A PRICK! | β˜…β˜…β˜…β˜… | November 2023
REBECCA | β˜…β˜…β˜…β˜… | September 2023
GEORGE TAKEI’S ALLEGIANCE | β˜…β˜…β˜…β˜… | January 2023
FROM HERE TO ETERNITY | β˜…β˜…β˜…β˜… | November 2022
THE MILK TRAIN DOESN’T STOP HERE ANYMORE | β˜…β˜…β˜… | October 2022
RIDE | β˜…β˜…β˜…β˜…β˜… | August 2022
VANYA AND SONIA AND MASHA AND SPIKE | β˜…β˜…β˜… | November 2021
PIPPIN | β˜…β˜…β˜…β˜… | July 2021

ONE SMALL STEP

ONE SMALL STEP

Click here to see our Recommended Shows page

 

BARISTA THE MUSICAL

β˜…β˜…β˜…

Capitol Theatre

BARISTA THE MUSICAL at the Capitol Theatre

β˜…β˜…β˜…

“a valiant new work with potential and moments of real pleasure”

Barista The Musical is a new, original production that deserves recognition simply for not being based on an existing format or film franchise. In a time when much of musical theatre leans on familiar franchises, this fresh work is a bold effort. While it doesn’t always hit the mark, there’s enough here to applaud.

The show opens with a dramatic gut-punch as Isabella (Sara Bartos) leaves Colombia to study in London, seen off by her protective brother, Luis (Daniel Lobo). It’s 2006, and though Luis insists this is for her own good, an undercurrent of danger lingers. A flashback to 20 years earlier reveals their father (Marc Serratosa) being murdered by his business partner, Matias (Jay Faisca), followed by an implied rape of their mother, Maria (Charlotte Shalkey). This emotionally charged opening is unexpected, given the lighter tone suggested by the show’s marketing.

Scene 3 introduces us to Scott’s CafΓ©, an independent London coffee shop around which the plot revolves. In the effective montage number Want a Coffee, we witness the passing of time from 2006 to 2009. Through brief snapshots, we observe a pregnant woman who progresses to having more children, a man who starts with two dogs and ends with one, and other locals whose lives subtly evolve. It’s a clever, engaging sequence that showcases the versatile six-person ensemble and gives us a sense of the broader community.

However, the lead characters lack the same connection. Andy (George Crawford), the cafΓ© owner, is in a romantic relationship with Isabella, who works at the cafΓ© while studying at university, but there’s little chemistry between them. It’s hard to understand what Isabella, the central focus, sees in him, and their relationship feels underdeveloped, weakening the story’s emotional core.

Musically, the show has poignant moments. Andy’s solo Proud of Me reflects on his childhood and his grandfather, from whom he inherited the cafΓ©, while Isabella’s Stronger, the Act 1 finale, delivers a powerful moment of resolve. Sara Bartos carries the emotional heft of the show and is an engaging stage presence, particularly in the Spanish-language song La Única Manera, where her emotions are deeply felt despite the language barrier. George Crawford brings charm to his role, though his character feels less fleshed out.

On the lighter side, the comedic numbers shine. No Chance, where bankers reject Andy’s loan request, is a satirical highlight that sets the stage for a shady business deal threatening both his relationship with Isabella and his cafΓ©. Another standout is Smoothie Man, performed by Sue (a comedic force and guardian-angel-like figure played to perfection by Colleen Daley), who brings the house down with witty double entendres like β€œsqueeze me, zest me, juice me,” while being lifted, spun, and twirled by a trio of men in gold lamΓ©. Sue’s banter, complete with her obsession with Zumba and references to Liam Neeson’s β€œparticular set of skills,” firmly roots us in 2009.

The choreography, by Strictly Come Dancing’s Pasha Kovalev, shines particularly in the comedic numbers and later in the second half when the action returns to Colombia. The Latin American rhythms and a sultry tango sequence add vibrant energy, contrasting with the earlier scenes in London.

There’s a lot percolating in Barista The Musicalβ€”perhaps too much. With book, music, and lyrics by Nigel and Anna Newman, several plot threads are introduced but left unresolved. Still, director Sarah Redmond keeps things engaging, with the action moving briskly enough to hold attention even when clarity falters.

In the end, Barista The Musical is a valiant new work with potential and moments of real pleasure. It’s not a perfect cuppa, but in a theatre landscape dominated by adaptations, it makes for an engaging night out.

 


BARISTA THE MUSICAL at the Capitol Theatre

Reviewed on 13th September 2024

by Ellen Cheshire

Photography by Josh@JustSocials

 

 

 

 

 

 

 

Top shows this month:

GUYS & DOLLS | β˜…β˜…β˜…β˜…β˜… | BRIDGE THEATRE | September 2024
THE PLAY THAT GOES WRONG | β˜…β˜…β˜…β˜…β˜… | DUCHESS THEATRE | September 2024
THE BELT | β˜…β˜…β˜…β˜…β˜… | THE CORONET THEATRE | September 2024

BARISTA THE MUSICAL

BARISTA THE MUSICAL

Click here to see our Recommended Shows page